The reason that I volunteered for A Crimson Grail was simple: I wanted to participate in something that I had never experienced before, and could experience in no other way.
Kathryn Gould, the venture capitalist behind the Magnum Opus commissioning program, is back for a second run.
Every day for the past year David Morneau has produced a new 60-second composition and distributed it via the Internet. His personal creative marathon is over on June 30, 2008, when he’ll post his last composition in this series.
I returned home from Denver with a renewed focus and excitement about what I’d like to accomplish this summer. That kind of clarity is a byproduct of the vibration that comes from being surrounded by several thousand art-makers and art-supporters, and I can’t think of the last time I was part of a specialized herd that large. It’s reassuring to know just how many of us there are out there.
I’ve felt for a while that the greatest beneficiaries of the arts are not necessarily the audience members, but the participants. That’s one of the reasons why it’s so hard to make the case for supporting the arts to people who are not themselves artists.
Apparently 85 percent of music majors end up working “in the field,” although fewer than five percent are full-time professional performers.